HIFICRITIC Volume 9 No. 1
January / February / March 2015Musical Fidelity's Merlin SystemAndrew Everard checks out a complete and up-to-date vinyl-based hi-fi system that sells for £1300.
Review By Andrew Everard

Never let it be said that Musical Fidelity is behind the curve
when it comes to developing new products: in fact, the company has something of
a track record for anticipating trends, not to mention attempting to start
trends of its own.

After all, it launched a standalone headphone amplifier in its
tubular-cased X-Series range as
long ago as the mid-1990s, and expanded that line-up with then-unfashionable
products such as a DAC, a linear power supply for multiple units, and the first
ever X-series product: the X-10D
Class A triode line stage. The company's SuperChargers
were
launched back in 2007: powerful amps designed to fit between an existing
amplifier and speakers, they had the simple task of boosting the power to
deliver the full dynamics of the music.

In recent times MF has continued with a sometimes baffling
range of products, from high-end amplifiers through to little boxes designed to
add all kinds of features to a system, from headphone amps to phono stages to
DACs and digital interfaces, and it was also one of the first British brands to
have its own streaming solution.

So, it's not a company short on innovation – and the Merlin
system looks like a fascinating combination of novel thinking and the
addressing of current trends. Where's a lot of the action in the audio market
at the moment? In vinyl, in Bluetooth streaming and in small systems: which is
precisely why MF covers those bases with this £1299 'Multi-Format Audio System' of miniature amp and speakers, and partnering Roundtable
turntable.

In a bout of Arthurianism the company has gone back to Camelot
to name its new products, but has thankfully resisted the temptation to go as
deliciously overboard with the theme as it did with the massive Art Deco
Michaelson Audio Chronosof the
1990. However, the Merlin and Roundtable are very much of the moment, as I discovered when
first encountering them at last year's National Audio Show, where company
founder and boss Antony Michaelson was on hand to enthuse about them (doesn't
he always?).

Michaelson has a very "well, we thought we'd give it a go,
so here it is" way of describing his company's products, and in typical
style he explained that he wasn't sure whether the new system was suitable for
review in hi-fi magazines because "It's not for enthusiasts; it's designed
for civilians". In common with other companies exploring new potential buyers
and outlets (think Linn Kikoor mu-so
by Naim), Musical Fidelity realises that we fanatics are a finite
resource, and that an entire iPhone generation
is out there, with money to spend on a system if only a) they can be shown that
it'll make their music sound better, and b) no-one mentions the 'H-F'
word.

The heart of this system is a Merlin
amplifier that's fashionably desktop-audio-sized (just 22cm wide
and 5.5cm tall) and has an absolute minimum of controls. It uses two digital
amplifier modules within to deliver a claimed 40W, or 50W maximum peak, per
channel into 4ohms, together with analogue-to-digital conversion to enable
non-digital sources to be connected, and twin, 24-bit/192kHz DACs.

A solitary pair of RCA sockets can function as either a
line-in or moving magnet phono input, the required function selected using a
tiny switch. A dual purpose 3.5mm stereo/optical mini-Toslink input is able to
handle the signal from the headphone output of a smartphone, tablet or whatever,
or up to 24-bit/96kHz digital in optical mode. A USB-B micro socket provides
connection from a computer (in place of the more common full-size USB-B): this
is compatible with files at up to 16-bit at 44.1/48 kHz, and aptX Bluetooth
connectivity is also available using an antenna supplied in the box.

It's worth noting that the USB socket seems a little more
fragile than a full-size USB-B: reconnecting the micro plug for a quick listen
after this review was completed, something gave way, and the socket vanished
inside the casework, so servicing is required, so I'd suggest some care is
taken with plugging this particular connection, and it should be left in place
once it's made. (You might simply suggest that I'm a bit ham-fisted!) That
aside, however, fit and finish here seems extremely good, and both amplifier and
speakers have the feeling of being built to last.

Output is provided on a set of simple speaker terminals, as
well as via another 3.5mm
combination analogue/optical socket, with either variable or fixed level
operation in the analogue domain – so a subwoofer can be added if required.

A standard 3.5mm headphone socket is also available, and
Musical Fidelity says close attention has been paid to the quality of the
headphone section here, which is based on its standalone headphone amps. The
headphone section also has its own volume control to avoid excessive levels
either when plugging in headphones or indeed when disconnecting them and going
back to loudspeakers. The amplifier is controlled by a 'credit card' remote
control for input and level; source/status selection is indicated by a row of
little LEDs on the front panel.

The pair of Merlin 1 speakers
are even more interesting, as they use a single BMR (balanced mode radiator)
full range drive unit, an extruded main enclosure, and a novel 'multi-stepped
baffle' covered in a range of geometric protrusions and designed to enhance
dispersion and imaging. This bass reflex design has a rear tuned port to
increase the bass, and an integral stand with two mounting points on the
enclosure rear so they may be used horizontally or vertically. The speakers come
complete with cables terminated with spade connectors, and are available in
silver, black or the red of the review pair, to match the Roundtable
turntable.

The turntable itself has an oversize solid plinth, mounted on
compliant feet and – like the high density MDF platter – designed for high
mass and low resonance, while Musical Fidelity says the motor, arm and other
components have been arranged to put the centre of gravity at the point of the
high carbon tool-steel main bearing.

The turntable has been designed to be simple to set up and
use, and comes with its 9-inch straight arm (which uses bearings that combine
steel tips, zirconium and rubber damping) already installed and fitted with an
Audio-Technica AT95E cartridge. All the user needs to do is to plug in the
off-board plug toppower supply and interconnect cables, drop the platter spindle
into the bearing, and fit the round section drive-belt to the platter and motor
pulley. A felt mat is provided as standard, but the turntable has no lid or
cover.

The power switch is under the front edge of the plinth, and
speed is changed by moving the belt on the motor pulley: MF supplies gloves for
belt handling (to avoid contamination), an alignment protractor and stylus
downforce balance, plus an Allen key for counterweight adjustment (in the
unlikely event that the cartridge is changed). The components of the system may
be purchased separately, the amp and speakers cost £799 as a package (the
speakers alone at £299), while the turntable is £599.

Straight from the box – the sample I received had previously
been used, so I really can't comment on any running-in effects beyond the fact
the sound does seem to get a little richer and more developed after about half
an hour of use from cold – the Musical Fidelity impresses with a weighty,
well-focused sound and an almost unfeasible sense of soundstage openness and
detail.

To these ears the imaging was a little tighter when the
speakers were used in 'upright' orientation, but the soundstage was rather
wider and more three-dimensional when they were used 'landscape': I suspect
personal preference will play a major part in choosing which suits any
particular listener. What's certain is that the ovoid Merlin
1s sound unlike any other small speakers I've encountered, having
both that unity of sound inherent in single driver designs and (with a little
assistance from a not too-close rear wall working with their bass ports), a
decent amount of low-end welly – at least by small speaker standards.

Due to its compact size and computer connectability, it might
be tempting to view the Merlin system
as a desktop audio set-up, and indeed that's a function it fulfils
spectacularly well, beingwell-suited to near-field listening due to the dispersion
characteristics of the speakers. The amplifier is more than powerful enough to
rock you back in your office chair when used in this way, however, and I enjoyed
everything from music stored on my computer to movie soundtracks and radio
streams while writing this review, both with my Mac
Mini connected via USB and from an iPad
via Bluetooth.

However, what's even more surprising is that the MF system
has decent room-filling (or at least small-room-filling) ability. With the
speakers at the extremes of the speaker cables supplied (placing them about 2m
apart), and used in horizontal orientation to give the most expansive
soundstage, the Merlin system
manages to deliver a sound that's instantly captivating and entirely
involving.

Yes, it's a little limited at the frequency extremes, but
the smoothing off of the highest treble and the lowest bass is of the 'sins of
omission, not commission' kind, and more than acceptable given the compact
dimensions of the whole system. Whether listening to one of the many rock
stations out there on the internet, or the likes of Radio Swiss Classic (which
does exactly what it says on the tin), the way the Musical Fidelity sounds goes
a long way to living up to the Music is Our
Religion slogan you'll find printed on the manufacturer's
packaging.

The turntable, too, is very fine by the standards of decks at
this kind of level, with an initial slightly sibilant edge to some vocals
disappearing after the Audio Technica cartridge had been run for a day or two,
and – whether through the Merlin amp
or some rather more ambitious amplification – a good balance of vinyl warmth
and smooth detail. With tracks such as the Rickie Lee Jones cover of Steely Dan's Show Biz Kids, the assured timing, tight bass and generous
imaging of the singer's voice was especially persuasive.

Try as I might, I couldn't find my ancient LP of Rick
Wakeman's Myths and Legends of King Arthur to
suit the Merlin system, so had to settle for some gritty blues! And with rock
material the presence and clarity are both impressive, especially if you wind
the Merlin amp up a bit. Change tack to jazz and what grabs you from the off is
the way the whole package delivers brass against a motoring rhythm section: it's clean, clear and immediately toe-tapping.

In fact, that's a definite trait of this little system: at
background levels – or 'running in dinner party mode' as a friend of mine
describes it – the sound is smooth and inoffensive, but crank the level up and
things really start to get interesting. The bass fills out, treble detail
suddenly sparkles through and a real sense of rhythmic drive becomes apparent,
alongside better orchestral scale and recorded ambience.

I have to admit to coming to this system with divided
thoughts. Yes, I expected good things given the brand, but still couldn't
quite dismiss from my mind the worry that this might be a lifestyle move too
far, and that those quirky-looking speakers might have rather more to do with
style than substance. I really needn't have worried: the Merlin
system, and its partnering Roundtable
turntable, more than meet up to their brief, and even have a spot of
magic going for them.

If you're after a second or desktop system, or a main system
for a modestly-sized room, and fancy something different with more than a spot
of style on its side, this compact package deserves a serious audition...